NYS Music 2023

Category: Photo Gallery

  • The Music Never Stopped: The Capital Region Celebrates the Life of Jerry Garcia

    Legendary Grateful Dead singer/guitarist Jerry Garcia touched many lives in his brief 53 years on Earth. Regarded as one of the most influential musical figures of all time, even 28 years after his passing, Garcia’s legacy and words continue to inspire and resonate with a whole new generation. An artist in every sense of the word, his creativity, curiosity, kindness, vulnerability, sense of humor and his unique ability to collaborate with almost anyone make him one of the most revered players of any era.  Relatable to millions and a limitless source of inspiration for countless Grateful Dead-inspired tribute acts, while Jerry’s journey may be one of the greatest stories ever told, you could easily argue that even though he’s gone, the music never stopped.  

    the music never stopped grateful dead jerry garcia
    Jerry Garcia’s Birthday Bash: NYS Dead Coalition featuring Organ Fairchild and Vinnie Amico of moe. performing at Lark Hall on 8/1/23.

    Born Jerome John Garcia on August 1, 1942, in 1965 he would become one of the founding members of The Grateful Dead and from there, go on to become one of the most recognizable figures of the last century. One of the most recorded musicians in history, he’s also said to have played in over 25 side projects while releasing more than 30 studio albums.  Since his passing on August 9, 1995, Deadheads around the world have respectfully anointed the “days between” his birth and death as a time to honor Garcia’s life and legacy.  Fortunate to be living in a place both rich in local talent and Grateful Dead history, this year I wanted to try something a little different to convey my appreciation. With multiple venues across the area holding special Jerry-themed celebrations during the first 9 days of August, I charged up my camera, cleared out my memory cards and set off to hit as many of them as I could.  If I told you all that went down, it would burn off both of your ears, but as best as I can remember, here’s how the Capital Region celebrated the Days Between in 2023.     

    Moe. drummer Vinnie Amico sat in with NYS Dead Coalition at Lark Hall on 81/2023.

    Kicking off the weeklong celebration was New York’s own Organ Fairchild.  Stopping by Albany’s Lark Hall on August 1st as part of “Jerry’s Birthday Bash,” the Buffalo-based band would pull double duty on the night.  First playing a set that mixed originals songs in with Grateful Dead covers like “Picasso Moon,” “Cream Puff War,” and “He’s Gone,” Organ Fairchild would return later in the night with a few friends for an extra special NYS Dead Coalition set. Featuring Vinnie Amico of moe. on drums along with Tom Mahoney and Ron Permoda from the Utica-based Dead band Into The Now, the memorable performance featured stellar renditions of uptempo rockers like “Let The Good Times Roll,” “After Midnight,” “Cumberland Blues,” and “New Speedway Boogie,” while the back half the set was far more tender and introspective with our first “Bird Song” of the week, along with “Peggy-O,” “They Love Each Other” and a lengthy dose of “Love Light” that even Jerry Garcia himself would have been moved by. 

    Rockin’ on the River: It was all ‘Sunshine Daydreamin’ with Neon Avenue on 8/2/2023.

    The next stop on our “Days Between the Capital Region” tour took us down by the riverside of Troy, where it was all ‘sunshine daydreaming’ with Neon Avenue. Headlining perhaps their biggest show yet as part of the Collar City’s annual Rockin’ On the River’ concert series, the energetic Clifton Park band more than rose to the occasion, delivering a phenomenal set of improvised jams on some of the Grateful Dead’s most beloved material. 

    Wharf Rats: Neon Avenue’s thoughtful setlist had fans dancing in the Collar City streets until sundown on 8/2/2023.

    The picture-perfect weather brought out a huge crowd and songs like “Shakedown Street,” “Sugaree,” and “Scarlet Begonias” > “Fire on the Mountain” had both fans new and old on their feet and dancing all the way to sundown.  Also mixing in hits like “Touch of Grey,” “Truckin,” and “Casey Jones,” for good measure, it was Neon Avenue’s thoughtful placement of songs like “Wharf Rat, “Sugar Magnolia” and “Magnificent Sanctuary Band” that yielded the most sentimental moments.  Playing off their surroundings to great effect, perhaps the biggest cheers of the night came during the set closing “U.S. Blues.” Troy is said to be the original home of Uncle Sam after all.

    View Grateful Dead and Jerry Garcia shows from across the years in New York State with our interactive map below!

    Our third stop of “Jerry Week” took us back to Lark Hall for another milestone performance, this time for legendary Hudson Valley rockers The Deadbeats who were celebrating their 30th anniversary. After playing around the area nearly every week for the last three decades, the highly respected group of local musicians have amassed a devoted following and they came out in full force on this Friday night in August. Blasting off with “Bertha,” the energy was there from the start and never let up.  Working their way through a nice combination of “Beat it on Down the Line” and “The Greatest Story Ever Told,” other highlights of the first set included our only “Candyman” of the week, as well as “Dire Wolf,” and another smokin’ rendition of “Cumberland Blues” before “Scarlet Begonias” > Fire on the Mountain” took us to halftime.

    The Deadbeats celebrated Jerry and a milestone of their own at Lark Hall on 8/4/2023.

    Returning for a lengthy second set that included an impressive ride through “Help on the Way” > “Slipknot” > “Franklin’s Tower,” The Deadbeats also managed to throw in a few Jerry Garcia Band surprises too, like “Rubin and Cherise,” “Midnight Moonlight” and “Ride Mighty High.” “Truckin” and “Not Fade Away” had the whole room moving and grooving, but really, anyone who was there will tell you the second set was all about the funked-out version of “Throwing Stones” that essentially stole the show and helped make the band’s 30th anniversary party so memorable. Kudos to all members of The Deadbeats, past and present, for helping keep Jerry’s spirit alive in Albany all these years.

    The Deadbeats Mike Johnson has been ‘playing in the band’ for an astonishing 30 years.

    The next show we had the privilege of attending was a special stripped down acoustic performance by 3 members of The Wheel. Taking place on the 28th anniversary of the day Jerry Garcia passed, the intimate cocktail hour gathering, also at Lark Hall, was easily the most unique and sentimental performance of the week-long celebration.  Consisting of Bryan Gautie on guitar and banjo, Andy Morse on guitar and mandolin and Woodstock’s Misty Mountain Ramblers’ keyboardist Kenny Schneidman, all three members jelled together nicely and would take turns singing and cracking jokes between songs.  Opening up with “Dark Hollow” and our only “Deep Elum Blues” of the Days Between, other highlights of the set included gorgeous renditions of “Friend of the Devil, “Black Peter,” “Catfish John,” and “Must Have Been the Roses.”

    Ripple Effect: The Wheel Trio unplugged for a sentimental cocktail hour set at Lark Hall on 8/9/23.

    With no rhythm devils or soaring electric guitar solos during the set, the real beauty was being able to fully concentrate on the actual songwriting and Robert Hunter’s timeless lyrics. Perhaps the trio’s biggest strength, however, was the combination of their voices together.  Using three-part harmony to great effect, there were moments during the set that simply gave you the chills, particularly on “Bird Song” and the set closing “Ripple,” which you can watch below.

    Watch fan shot footage of The Wheel Trio performing “Ripple” at Lark Hall on 8/9/23.

    Afterwards the buzz was all about “the other” Grateful Dead-inspired show that was also happening in the area that night. Full of heart and still daylight outside, those who couldn’t get enough Jerry packed up the party and trucked on over to the Cohoes Music Hall where two sets of Bearly Dead was just getting underway.          

    Bearly Dead’s Dynamic Debut: The Boston-based band buzzed with high energy during their Cohoes Music Hall performance on 8/9/23.

    Walking into to the historic (and allegedly haunted) Cohoes Music Hall is always a vibe, but I admit I wasn’t very familiar with Bearly Dead beforehand.  Kicking off their show with our first “Here Comes Sunshine” of the week, right away you could tell these guys “really cook” and I could feel a sense of ease come over me as I knew after all this poking around, I ended up in exactly the right place. Working their way through fiery renditions of “Passenger,” “Mississippi Half-Step Uptown Toodeloo,” and the crowd favorite “Ramble on Rose,” it was clear that Bearly Dead were diligent students at Grateful University and they had done their homework. Bringing a fresh and energetic approach to these ageless tunes, the band first came of age in Somerville, MA in 2015 and would go on to do a 5-year Wednesday Night Residency at Thunder Road before the venue closed in the midst of the pandemic.  Now taking their show on the road and touring nationally, Bearly Dead brought their A-game to Cohoes on August 9th. Immediately making a good first impression with first set staples like “Black-Throated Wind,” and “Tennessee Jed,” by the time the band linked together a monstrous “Terrapin Station” > “China Cat Sunflower” -> “I Know You Rider” jam sandwich to close the opening frame, no one needed further convincing that these guys are the good shit.    

    Sharing the Weight: Bearly Dead paid tribute to both Jerry Garcia and Robbie Robertson on 8/9/23

    On the same day the world learned that legendary singer/songwriter Robbie Robertson of The Band had passed away, the second set began with a touching moment of acknowledgement to one of their other musical heroes. Introducing the first song by saying, “I think Jerry wanted a buddy to jam with today,” Bearly Dead then broke into a heartfelt rendition of “The Weight.” Stragglers still smoking outside must have been kicking themselves as they quickly rushed in to fill the noticeably empty floor, so in an effort to help them out a little, I quickly pulled out my phone and hit the record button. That footage can be seen in the clip below.

    Watch fan shot footage of Bearly Dead covering “The Weight” during their Cohoes Music Hall debut on 8/9/23.

    One of the most striking things that helps separate this band from others like it is that every member can really sing and with convincing passion.  Perhaps Jerry’s most well-known solo song came next with “Cats Under the Stars,” before “Rhapsody in Blue,” and “Easy Wind” flowed beautifully into the iconic Grateful Dead anthem “Dark Star.” Seamlessly working in “Miss You” teases by The Rolling Stones, “Dark Star” would continue to burn straight into a poignant take on “He’s Gone,” and even further into “Uncle John’s Band,” before reeling in the 40 plus minute frame of uninterrupted music with the gorgeous bluesy b-side “Death Don’t Have No Mercy.” Picking up the pace once again, the dance party resumed one final time with a proper and appropriate “The Music Never Stopped” before segueing into one of the most powerful versions of “Morning Dew” I’ve heard in a long time.  Simply cathartic.  

    Watch fan shot footage of Bearly Dead performing “Death Don’t Have No Mercy” at the Cohoes Music Hall 8/9/23.

    As the Days Between celebrations came to a bittersweet close, a flood of emotions ran through my mind. Pardon the obligatory pun, but I couldn’t help but feel grateful and for so many different reasons.  Reinvigorated and inspired.  Even 28 years after Jerry Garcia’s passing, it’s clear the music he made is as relatable and as relevant today as it ever was and that Jerry’s contributions will never be forgotten. Over the course of the 5 shows, you were bound to hear some repeats, but considering how few there actually were is quite a testament to just how deep GD’s songbook is. I’m grateful for the musical community I live in that continues to play these songs, the talent that it takes to get up there and actually do it and to the amazing local venues that provide a platform for them to do it on.  There will never be another Jerry Garcia, but if this 9 day period taught me anything, it’s that this music is absolutely timeless, “Weir everywhere” and that the Capital Region still has plenty of heart, I can hear it beat out loud.

    Check out full setlists and photos of each show courtesy of NYS Music correspondent Zak Radick.

    Organ Fairchild ft. NYS Dead Coalition | August 1, 2023 | Lark Hall | Albany, NY

    Set 1: Morning Coffee, Over the Handlebars, Yum, Picasso Moon > Cream Puff War > He’s Gone, Chamelonious Monk with Layla tease

    Set 2: Let the Good Times Roll, After Midnight, Cumberland Blues, New Speedway Boogie, Bird Song, Peggy-O, They Love Each Other, Love Light.

    *Set 2 featured members of Into The Now and Vinnie Amico of moe.

    Neon Avenue | August 2, 2023 | Riverfront Park | Troy, NY

    Setlist: Shakedown Street, Touch of Grey, Sugaree, Scarlet Begonias > Fire on the Mountain, Truckin > Wharf Rat > Sugar Magnolia > Casey Jones, Magnificent Sanctuary Band, U.S. Blues

    Encore: Brokedown Palace.

    Deadbeats | August 4, 2023 | Lark Hall | Albany, NY

    Set 1: Bertha, Beat It On Down the Line > Greatest Story Ever Told, Hard To Handle, Candy Man, Cumberland Blues, The Buzz, Dire Wolf, Scarlet Begonias > Fire On the Mountain

    Set 2: Help on the Way > Slipknot > Franklin’s Tower, Crosstown Traffic, Truckin, Rubin and Cherise, Throwing Stones, Not Fade Away, Midnight Moonlight, Ride Mighty High

    Encore: Ripple, US Blues

    The Wheel Trio | August 9, 2023 | Lark Hall | Albany, NY

    Setlist: Dark Hollow, Deep Elum Blues, Oh Babe It Ain’t No Lie, Jack A Roe, Dire Wolf, Rosalie McFall, Friend of the Devil, Deal, Black Peter, Bird Song, Catfish John, Must Have Been the Roses, On the Road Again, Uncle John’s Band, Midnight Moonlight, Cumberland Blues, Ripple

    Bearly Dead | 8-9-2023 | Cohoes Music Hall | Cohoes, NY

    Set 1: Here Comes Sunshine, Passenger, Mississippi Half-Step Uptown Toodeloo, Ramble On Rose, Black-Throated Wind, Tennessee Jed, Terrapin Station > China Cat Sunflower -> I Know You Rider

    Set 2: The Weight[1], Cats Under the Stars, Rhapsody in Blue, Easy Wind > Dark Star[2] > He’s Gone -> Uncle John’s Band > Death Don’t Have No Mercy, The Music Never Stopped > Morning Dew

    [1] Dedicated to Robbie Robertson
    [2] Contained Rolling Stones “Miss You” teases

  • Goo Goo Dolls Bring Big Night Out Tour to Lakeview Amphitheater in Syracuse

    It was a big night for rock fans in Syracuse on Wednesday, August 16th, as The Goo Goo Dolls brought their Big Night Out Tour to Lakeview Amphitheater. O.A.R. opened the show. 

    It’s been a long road for The Goo Goo Dolls.  The Buffalo natives formed in 1986 and have maintained their core two members, John Rzeznik (vocals, guitar) and Robby Takac (vocals, bass guitar) since day one.  They are now joined by Craig Macintyre, who took over drumming duty in 2014.  Along the way, the band have released 14 studio albums and have an impressive 19 top-ten singles.  The band saw their popularity explode in 1997 with the release of “Iris,” which was included on the City of Angels soundtrack.  The song spent an impressive 18 weeks on the Billboard Hot 100 airplay charts.  

    The evening kicked off with a set by Maryland rockers, O.A.R.  The amphitheater was already well on its way towards full when O.A.R. took the stage at 7:15pm.  The band launched in to “Love and Memories,” off their 2005 release Stories of a Stranger, which brought those in attendance quickly to their feet.  It was clear early on that many in attendance were passionate followers of the band, as many made their way to the front of the amphitheater to sing and dance along.  The band wasted no time playing their familiar hit “Shattered” early on in the set.   The band would close out their set with the ever popular “Crazy Game of Poker” which saw the front pit section jump up and down and throw playing cards in the air.

    After a lengthy stage change over, the Goo Goo Dolls took to the stage at 9:10.  The band took no time breaking out the hits, opening with the high energy “Broadway” off 1998’s Dizzy Up the Girl.  It was the perfect upbeat opener, and quickly it was clear the band was excited to be there.  Rzeznik and Takac bounced from one end of the stage to the other, with smiles fixated across their faces.

    Early in the set, Rzeznik paused to thank the fans of his band who have been there since day one, as well as to pay homage to legendary Syracuse rock club, The Lost Horizon.  “I remember coming here in 1986 and playing at the Lost Horizon, and just being amazed that anyone actually came to see us.”  

    The remainder of the 25 song set saw the Goo Goo Dolls perform their various classics and fan favorites, like “Slide,” “Here is Gone,” “Black Balloon” (which saw fans toss black balloons in the air) along side newer hits like 2023’s “Run All Night” and “Yeah, I Like You.”  Along the way Rzeznik took multiple opportunities to thank the crowd and convey his appreciation, proclaiming “I can’t believe I still get to do this, and I want to thank you guys…” before performing one of the band’s earliest hits, “Name.” As the evening neared a close Rzeznik introduced the second to last track as “One you all will know” before playing a cover of Tom Petty’s “I Won’t Back Down,” a track the Goo Goo Dolls and O.A.R. recently teamed up to record in the studio. The band would then close the evening with their 1997 smash hit, “Iris”, much to the crowd’s appreciation. It truly was a big night out for rock fans.

    Of A Revolution

    The Goo Goo Dolls

  • Yngwie Malmsteen, Glenn Hughes, and Southbound Beretta unleash the burning fury in Hudson Falls

    On Friday, August 18, Swedish stratocaster maestro Yngwie Malmsteen and legendary ex-Deep Purple ‘voice of rock’ Glenn Hughes rolled into the Strand Theater in Hudson Falls, New York.

    Yngwie Malmsteen at The Strand Theater in Hudson Falls
    Yngwie Malmsteen – Photo by Derek Java

    A note on the Strand Theater – this was my first time at this venue, a great, small theater with a large balcony and smaller floor, all seated, where a few hundred people can fit.  It was fairly full on this Friday night; if not sold out, it was close.  The near capacity crowd was all-in for a night of vintage heavy with a great co-headline double-bill.  This was the first night of the Malmsteen-Hughes pairing, which is touring across America through the end of September.

    The Strand Theater – Photo by Derek Java

    The doors opened a bit later than advertised, as first-night soundchecking took some time.  Luckily there’s an Irish pub next door.  The gig started fairly quickly after they let the crowd in – there was a band on before the co-headliners – Southbound Beretta, from Indianapolis, IN.  Young guys, not a southern rock or country band as the name suggests, but full-on, blasting, loud, raw heavy rock.  Motorhead springs to mind.  Two guitars, bass, solid drummer.  One of the guitar player sings, and his voice invokes maybe a cross between Lemmy and Blackfoot’s Rickey Medlocke.  An odd band to see in a seated venue, these guys should be playing loud in a sweaty bar with cheap beer and whiskey.  They had only time for four or five songs, I only caught one song title, “Two For One” (“about a threesome”, said the singer), but it was headshaking stuff.  Tons of energy, lots of headbanging and onstage activity that reminded me of early Metallica or Raven.

    Southbound Baretta
    Southbound Baretta – Photo by Derek Java

    Glenn Hughes played next.  Ageless is a common cliche floated for any 70s-80s rockers who are still treading stages, often well past their expiration dates, but Hughes, 74 this year, truly is.  Still rock-star skinny, full head of hair, and most importantly that legendary voice – unlike many of his peers of the 70s heavy rock vintage, Glenn’s voice is still there, amazing as ever.  This is fairly astounding in light of his storied history of excess.  He, of course, began with the Birmingham, UK trio Trapeze in the early 70s before joining Deep Purple in 1973 as bassist/vocalist with future Whitesnake man David Coverdale as replacements for the departed Ian Gillan and Roger Glover.  As impossible as replacing Gillan would seem, Hughes/Coverdale did it, and in spades, producing 3 classic records (Burn, Stormbringer and Come Taste the Band), before dissolving in 1976. 

    By this time, Hughes (by his own admission) was deeply awash in cocaine and other habits, and for the rest of the 70s and all of the 80s, while he produced some sporadic, quality work (some reunion tours with Trapeze, the cult classic Hughes/Thrall record in 1982, some vocals on Gary Moore’s Run for Cover record in 1985, and Black Sabbath’s solid but ill-fated Seventh Star in 1986), these projects were torpedoed by his addictions.  Amazingly, he’s been clean since ‘91, and in recent decades his solo records and other projects (with Sabbath’s Tony Iommi, Black Country Communion, the Dead Daisies and more) have been some of his best ever.

    Glenn Hughes
    Glenn Hughes – Photo by Derek Java

    This tour is to celebrate the 50th anniversary of Deep Purple’s Burn album (which actually came out in early ‘74), but instead of a front-to-back set of that album alone, Hughes played a mix of classics mostly from his era of Deep Purple, kicking off with a pummeling “Stormbringer” into Burn’s “Might Just Take Your Life”.  It was great hearing him sing both the Coverdale and his own parts from these DP classics.  His band is astoundingly good: Søren Andersen (guitar), Ash Sheehan (drums) and Bob Fridzema (keyboards).  Anderson handled the Ritchie Blackmore and Tommy Bolin guitar parts admirably, and while Fridzema’s keyboards maybe could have been mixed louder, Sheehan’s drums were brilliantly hammering, and brought an added vigor to these great tunes. 

    And what a set of songs: you can’t go wrong with the funky, stomping “Sail Away”, or the extended “Mistreated”, on which Anderson earned his wage admirably, with Glenn ad-libbing and adding to Coverdale’s straight-blues take on the original.  What a set of pipes on this guy.  And kudos to Hughes for finishing the regular set with a couple of tunes from the underrated, Tommy Bolin-era Come Taste the Band, an enlarged, astoundingly roaring “Gettin’ Tighter” followed by “You Keep on Moving”, truly great renditions.  The lights came on and it appeared to be over, but happily the band strolled back out and encored with the Ian Gillan-era classic “Highway Star” (Hughes handing his bass to a crew member for that one, and hitting every Gillan note as a microphone-toting frontman), before Glenn grabbed his bass again and the band wrapped it up with, of course, “Burn”, a blazing, triumphant version.  Yngwie’s work was cut out for him.

    Glenn Hughes
    Glenn Hughes and guitarist Soren Andersen – Photo by Derek Java

    This writer has not seen Yngwie play live in a long, long time.  His first NYS Capital Region show was in June 1984, he was probably 20, as part of the band Alactrazz, fronted by ex-Rainbow singer Graham Bonnet, at the Palace Theater in Albany opening for Ted Nugent.  Malmsteen dazzled that night, and I snapped up the ‘84 debut Yngwie record ‘Rising Force’ immediately upon release, and that killer mostly-instrumental debut LP was a favorite at the time.  To be honest, after a few years I stopped keeping up with his records – his solo band played some good shows opening for AC/DC and Iron Maiden locally, but by the time he reached headliner status for several area shows, I’d checked out.

    This tour is promoted as featuring Yngwie’s ‘greatest hits’, but frankly as he had few actually ‘hits’ (other than “If You Don’t Remember, I’ll Never Forget”, a minor mid-80s radio song, played this night as the set-closer), it was more accurately a career-spanning best-of.  While some may mock the “unleash the fury”, irony-free presentation, you can’t deny how outstanding the Swede is at what he does.  The speed, dexterity and burning intensity of his playing has not abated.  The guy is truly an amazing player.

    Yngwie Malmsteen
    Yngwie Malmsteen – Photo by Derek Java

    If you wanted Yngwie fucking Malmsteen, full-on and roaring, this night did not disappoint.  In recent years he was doing solo shows, him alone, singing and playing live to backing tracks, but (happily) not this tour.  He had a keyboards/bass/drum backing band, all in the corner of stage left.  There was a towering “wall of amps” at the back of the stage, maybe 35-40% of which were actually on.  Yngwie’s band in the old days always featured a singer out front, but now he does the singing, with the keyboardist and bassist backing him up, and he sounded just fine.  The sound itself was crushingly loud, which sometimes made Yngwie’s solos swamped and distorted, and it was clear there were some sound and pedalboard issues throughout the night.

    But he played amazingly, looked great for a guy who must be approaching or past 60, clad as you’d expect in black leather pants, black cowboy boots, a black shirt open to the waist and long, jet-black hair and big sideburns.  I mean, you wouldn’t want Yngwie wearing an age-appropriate sweater and corduroys with a neat haircut, would you?  Hell, no.  Note should be made of the hardest-working man on the night, Yngwie’s roadie, who would dutifully switch guitars for the man, often while scooping up the previous guitar, dropped by the boss and feedbacking on the ground, while taping row after row of guitar picks to Yngwie’s mic stand between seemingly every song – every punter in the front rows must have gotten a half-dozen guitar picks, which Malmsteen hurled, flicked and kicked into the crowd all night.

    Yngwie Malmsteen
    Yngwie Malmsteen – Photo by Derek Java

    The setlist covered the whole span of his discography, the only notable omission being the ‘85 Marching Out record, which wasn’t featured at all in the set.  Yngwie spoke to the crowd a few times, but the echo on his microphone made it hard to make out what he was saying.  But chat wasn’t the point – the long set moved fast, from song to song, with as many arpeggios and fugues and neo-classical superheroisms as the day is long.  As a first-album enthusiast, it was great to hear “Now Your Ships are Burned” (Malmsteen handling the vocal admirably), “Far Beyond the Sun” and an absolutely ripping “Evil Eye” in there.  There were also a few covers, the most odd being “Smoke on the Water” – Yngwie has always been a Blackmore devotee, and it was a great version, but a strange choice when you’re co-headlining with an actual member of Deep Purple.  Or maybe it was a perfect choice.  The show was long, loud and unrelenting.  As you’d want, really.

    A great show – in a footrace, Yngwie may have won in terms of volume, bombast and merciless intensity, but Glenn had the songs, the vibe, and overall the better set of the night.  All three bands were top-notch though – kudos to the Strand Theater for booking such a great night of heaviness.

    Southbound Beretta setlist: Drive, Two for One, Petal to the Metal, Name on a Bullet.

    Glenn Hughes setlist: Stormbringer, Might Just Take Your Life, Sail Away, You Fool No One, Mistreated, Gettin’ Tighter, You Keep On Moving, Highway Star, Burn.

    Yngwie Malmsteen setlist (approximate): Rising Force, Baroque and Roll, Like an Angel, Relentless Fury, Now Your Ships Are Burned, Wolves at the Door, (Si Vis Pacem) Parabellum, Badinerie, Far Beyond the Sun, The Star-Spangled Banner, Seventh Sign, Tacotta, Evil Eye, Smoke on the Water, Trilogy (Vengeance), Brothers, Fugue, You Don’t Remember, I’ll Never Forget, Black Star.

    Yngwie Malmsteen
    Yngwie Malmsteen – Photo by Derek Java
    Yngwie Malmsteen
    Yngwie Malmsteen – Photo by Derek Java
    Yngwie Malmsteen at The Strand Theater in Hudson Falls
    Yngwie Malmsteen – Photo by Derek Java
    Yngwie Malmsteen
    Yngwie Malmsteen – Photo by Derek Java
    Yngwie Malmsteen
    Yngwie Malmsteen – Photo by Derek Java
    Glenn Hughes
    Glenn Hughes – Photo by Derek Java
    Glenn Hughes
    Glenn Hughes – Photo by Derek Java
    Glenn Hughes
    Glenn Hughes keyboardist Bob Fridzema – Photo by Derek Java
    Glenn Hughes and Soren Anderson
    Glenn Hughes and guitarist Soren Andersen – Photo by Derek Java
    Glenn Hughes
    Glenn Hughes and Seth Anderson – Photo by Derek Java
    Glenn Hughes drummer Ash Sheehan
    Glenn Hughes drummer Ash Sheehan – Photo by Derek Java
    Crowd at The Strand Theater
    Crowd cheering for Glenn Hughes at The Strand Theater – Photo by Derek Java
    Glenn Hughes
    Glenn Hughes – Photo by Derek Java
    Southbound Baretta
    Southbound Baretta – Photo by Derek Java
    Southbound Baretta
    Southbound Baretta – Photo by Derek Java
    Southbound Baretta
    Southbound Baretta – Photo by Derek Java
    The Strand Theater
    The Strand Theater – Photo by Derek Java

  • Shakey Graves “Movie Of The Week Tour” Shakes Pier 17

    On the summer evening of Tuesday, Aug. 15, Shakey Graves pulled a crowd of friends, strangers, and lovers to the rooftop of New York City’s Pier 17. On their “Movie Of The Week Tour,” Shakey Graves is celebrating the release of their newest EP, Big In The World. New York City was lucky enough to be a stop on Shakey Graves’s map, for the performance was unlike anything else the rooftop has seen before. As the unique sunset of pearly pink tufts and layers of soft yellow fortified, the perfect evening settled and waited for the show to begin.

    Photograph by Emma Dowd.

    Lucius, the opener, put on a riveting show of their own. The Brooklyn-born indie-pop band successfully combined the subgenre of alt-pop with disco tech, which called for a dancey audience. The crowd sang along with the instruction of lead singers, Jess Wolfe and Holly Laessig. Their matching hot pink blazers couldn’t be missed, neither could their impressive lyricism and captivating stage presence.

    The duo left the stage, while the band held the set with an instrumental serenade. After a brief interlude, Wolfe and Laessig returned in disco-tile mini dresses. They made their way to the center of the audience, and the entire venue took a seat to listen and admire. At the center of gracious applause, Lucius closed out their performance.

    Photograph by Emma Dowd.

    In between Lucius’s and Shakey Graves’s set, the rooftop filled up with fans. A vital cooling August breeze rolled off the East River and sewed its way between the bodies of the crowd. With the wind came a threatening sheet of gray clouds holding in their bellies of rain, but the crowd stood unwavering, true to Pier 17’s rain-or-shine nature. Thankfully the weather prevailed, and the night remained nothing short of perfect.

    As the sun finally set vocalist of Shakey Graves, Alejandro Rose-Garcia, made his way onto stage dressed in all black, from his cowboy hat down to his boots. It was just him on the stage for the first two songs. During that time he introduced himself with his guitar and established his tuneful and guttural vocals. He spoke about the theme of his show before singing his song “Late July,” saying “The running theme of tonight’s music is that time flies by.” In New York City fashion, time whirred around and above the audience, across the Brooklyn Bridge, and in the flickering seconds of the downtown skyline. Though, time moved slowly on the rooftop, for the audience swallowed every guitar strum and studied the lyrics like a hymn.

    Photograph by Emma Dowd.

    The rest of his six man-band joined him for the third song of the set. Cameron Neal, Patrick O’Connor, and Taylor Craft owned the strings. Matt Pence conducted the versatile percussion, and Dancey Jenkins commanded the keys. The sound was immediately elevated, and the smokey influences of blues, folk, country, and psychedelic rock could be heard clearly and with intent. 

    Photograph by Emma Dowd.

    The music became something tangible through the physical effect it had on the audience. It became elusive as it settled as personal emotion in everyone’s gut. Pockets of people danced barefoot on the concrete, piling up their shoes, tossing their bags, and stomping on the rooftop. There was something about Shakey Graves’ music that was so raw, so human, that it elicited movement. Music can do that, it makes the body want to feel the ground connect with its soles, meet skin with every beat, and allow the passage of the body to really feel the relationship between sound and soul. 

    Photograph by Emma Dowd.
    Photograph by Emma Dowd.

    The band paused their performance for Rose-Garcia to make a toast. “I want to congratulate all of you on making it through some crazy shit… I have a lot of things I love that I need to be more grateful for, family and friends… to you and yours, may you live forever. Cheers.” A roar of gratitude washed from the crowd onto Shakey Graves. Audience members embraced each other and smiled endearingly at their best friends and lovers, daughters and sons, mothers and fathers. Bodies held each other a bit tighter, and stood a bit closer, as the rest of the show unfolded. 

    Photograph by Emma Dowd.

    Shakey Graves’s music spotlights the romance, the pain, the peace, that comes with falling in and out of love with people, places, and moments in time. It’s the moments of transition, realization, and reckoning that live in their lyrics. People sang their songs like they would solidify a promise, so faithful and sure. The rest of the evening consisted of songs of old and new. Rose-Garcia spoke on his relationship with New York City, one he created when he was young and “flat broke,” which landed relatable to the crowd of New Yorkers. He told the birth story of his hit single, “Tomorrow” (released in 2016), and how he wrote it during his time in the city.

    The band left the stage, but the crowd remained in hungry anticipation of an encore. Sure enough, the band met the audience’s needs and returned to the stage for a branding final performance. People towards the spacious back end of the crowd let loose, dancing with their entire bodies and singing with their hands clasped to their chests. The band expressed their gratitude once more, and Rose-Garcia introduced his band members. When it came time for Shakey Graves to leave and the lights to turn on, everyone remembered it was a Tuesday night. Time sure had flown by, just as the band promised it would.

  • In Focus: The Chicks Live at CMAC

    As the sky transitioned from a vibrant blue to hues of pink and orange, the scene was set for The Chicks, formerly known as the Dixie Chicks. The trio, consisting of Natalie Maines, Emily Strayer, and Martie Maguire, had captured the hearts of audiences for decades with their harmonious blend of country, folk, and Americana music. This is the first tour under the bands new name.

    The Chicks performing at CMAC on August 11, 2023

    The mood was elevated as the show’s opener, the venerable Ben Harper, took to the stage. Known for his soulful blend of folk, rock, and blues, Harper’s performance was nothing short of electrifying. His masterful guitar skills and heartfelt lyrics resonated deeply with the audience, setting the tone for an unforgettable evening. Harper’s ability to effortlessly weave together messages of love, unity, and introspection with his dynamic musical talents showcased his status as a true artist.

    As the night unfolded, one thing became abundantly clear: The Chicks were not only there to entertain but to connect. Each song was a chapter in a story, an invitation to experience life’s highs and lows, love and heartache, resilience and redemption. The beauty of their music lies in its universality, and that night, it felt like the crowd was singing their own stories through every lyric.

    One remarkable aspect of the performance was the synchronization of visual elements with the music. As The Chicks’ harmonies soared, the backdrop came alive with breathtaking visuals that amplified the emotions of each song. From nostalgic montages to evocative animations, the visual journey was a mesmerizing accompaniment to their already stirring music.

    The Chicks’ onstage chemistry was undeniable, a testament to the camaraderie they’ve cultivated over their illustrious career. The seamless blend of Natalie Maines’ commanding vocals, Emily Strayer’s masterful guitar work, and Martie Maguire’s virtuosic fiddling created a musical tapestry that captivated every corner of the venue.

    In a world where music has the power to transcend, The Chicks’ performance at CMAC was a testament to the enduring magic of live music. Their harmonies echoed in the hearts of 14,000+ overjoyed fans as they danced under the stars, creating an evening of empowerment, connection, and artistry that will resonate for years to come.

    For more on The Chicks, click here.

    Setlist: Gaslighter, Sin Wagon, Texas Man, Julianna Calm Down, Talking The Long Way, My Best Friend’s Weddings, Sleep At Night, Ready To Run, Top Of The World (Patty Griffin Cover), Wide Open Spaces, Tights On My Boat, Daddy Lessons/Long Time Gone, Cowboy Take Me Away, Landslide (Fleetwood Mac Cover), Rainbowland (Miley Cyrus Cover), Don’t Let Me Die In Florida, March March, For Her, Everybody Loves You, White Trash Wedding, Not Ready to Make Nice, Goodbye Earl.

  • Pantera and Lamb of God Deliver a Legendary Performance Amidst Rain in Syracuse

    Rain couldn’t dampen the spirits of metalheads as Pantera, accompanied by Lamb of God and Child Bite, electrified the St. Joseph Health Amphitheater. The weather may have been gloomy, but the atmosphere inside the amphitheater was ablaze with energy, thanks to the raw power of the bands and a few unexpected surprises.

    Lamb of God.

    Lamb of God’s electrifying set energized the crowd and set the stage for an unforgettable night. With a blistering start, the band launched into “Momento Mori,” a track that immediately established their intent to dominate the stage. Each note resonated with precision, a testament to Lamb of God’s seasoned prowess.

    The intensity never wavered as the band seamlessly transitioned from one hit to another. “Ruin” ignited a frenzy in the audience, while the ever-popular “Walk With Me In Hell” united voices in a melodic roar. The setlist was meticulously crafted to showcase Lamb of God’s versatility, as evidenced by the seamless shift to “Now You’ve Got Something To Die For,” which delivered a fierce social commentary amidst the sonic onslaught.

    “Omens” brought a modern edge to the performance, highlighting the band’s evolution without compromising on their core aggression. Lamb of God’s stage presence was captivating, with vocalist Randy Blythe’s raw energy feeding off the crowd’s enthusiasm.

    Lamb of God.

    As the rain persisted, Lamb of God’s set reached its zenith with “Redneck.” The pit erupted into a tumultuous sea of movement, and the crowd’s interaction with the band reached its peak. The shared experience of relentless headbanging and cathartic release transformed the weather’s adversity into a unifying force.

    Pantera, known for their ferocious live performances, took the stage by storm, proving once again why they are hailed as legends in the metal world. Despite the absence of original drummer Vinnie Paul and guitarist Dimebag Darrell, the lineup alterations did not detract from the band’s intensity. With Phil Anselmo’s commanding presence and the bass prowess of Rex Brown, the crowd was treated to a spectacular display of Pantera’s iconic sound.

    The inclusion of guest guitarist Zakk Wylde, known for his work with Ozzy Osbourne, and drummer Charlie Benante from Anthrax injected a fresh dynamic into the performance. Their chemistry with the band members was evident as they seamlessly integrated into Pantera’s lineup.

    The setlist, spanning Pantera’s illustrious career, left no fan disappointed. Kicking off with a thunderous rendition of “A New Level,” the crowd was instantly captivated. The hits kept coming, with “I’m Broken” and “Walk” inciting frenzied mosh pits and headbanging that defied the rain. Phil Anselmo’s voice, as potent as ever, delivered the raw emotion that has defined Pantera’s music for decades.

    Pantera.

    The evening’s climax arrived with the finale. “Cowboys From Hell” resonated through the amphitheater, reminding everyone why this song is a metal anthem. The roaring crowd demanded more, leading to an unforgettable encore of “Yesterday Don’t Mean Shit.” The sheer energy of the band and the audience’s fervor forged a connection that transcended the weather’s challenges.

    Pantera’s performance was a reminder of their enduring legacy, an echo of a bygone era of metal that still resonates powerfully with fans today. The band’s ability to unite the audience, even in the face of rain, showcased their unwavering impact on the metal community.

    Lamb of God Setlist: Momento Mori, Walk With Me in Hell, Resurrection Man, Ditch, Now You’ve Got Something to Die For, Omens, Ruin, Contractor, Laid to Rest, Redneck

    Pantera Setlist: A New Level, Mouth for War, Strength Beyond Strength, Becoming, I’m Broken, Suicide Note Pt. II, 5 Minutes Alone, This Love, Fucking Hostile, Cemetary Gates, Planet Caravan(Black Sabbath cover), Walk, Domination/Hallow, Cowboys From Hell, Yesterday Don’t Mean Shit

    Pantera

    Lamb of God

  • Zac Brown Band Pays Tribute to The Band; Goes Big on Covers in Saratoga

    In what’s become a bit of a Saratoga summer tradition, it was another ‘boot scootin’ boogie’ of a good time when the Zac Brown Band brought their “From The Fire” tour to the Saratoga Performing Arts Center (SPAC) on Aug.13.

    Playing two sets of crowd-pleasing favorites, the memorable performance also included guest sit-ins galore and a plethora of unexpected cover songs from artists like Pink Floyd, Radiohead, and The Band. Proving they are anything but your “typical” country rock superstars, the genre-defying crossover juggernaut led by Brown had something for everyone and cemented why they are considered one of today’s top live acts and party atmosphere you can count on.

    The Zac Brown Band performing at SPAC on 8/13/2023. Photo by Zak Radick.

    After getting the night started with stellar sets from a pair of kings, the up-and coming Nashville act King Calaway and Southern blues powerhouse rocker Marcus King, the highly prolific, Grammy Award winning Zac Brown Band took the Broadview Stage at SPAC shortly after 8 pm. Opening up the curtains to the show in dramatic fashion, “Make This Day” had the crowd on their feet and singing along to the very first note. Accompanied by a backing entourage of talented musicians Brown referred to as “the best in the business,” the collective sound of everyone playing together was massive inside the packed pavilion, overpowering the singing of the audience, both inside and on the lawn, who just seemed to be savoring every second of the show.

    The Zac Brown Band performing at SPAC on 8/13/2023. Photo by Zak Radick.

    Playing some of their most well-known material in the first set that included “Knee Deep,” “Keep Me In Mind,” “Where the Boat Leaves From” and a laidback version of “Free” that segued nicely into Van Morrison’s “Into the Mystic,” ZBB would also show massive respect to the handpicked opening act King Calaway by covering one of their songs, “When I Get Home.” Following that up with another cover song about home, the Atlanta, GA-based group then unleashed a high-octane, foot stomping fiddle clinic with their take of the Charlie Daniels Band classic, “The Devil Went Down to Georgia.”

    After working their way through “Tomorrow Never Comes” and “Same Boat,” one of the emotional high points of the night came next with a lovely tribute to Robbie Robertson of The Band who passed away just a few days earlier. Known for regularly working various songs from The Band’s storied catalog into their live shows, on this Sunday night in August, ZBB opted to go with a cover of “The Weight.” The clear influence of the Saugerties icons was on full display here and was palpable. Following an extended drum and percussion solo next, “Jump Right In” would have fans jumping for joy before heading to the concession stand for a short break in the music.

    The Zac Brown Band performing at SPAC on 8/13/2023. Photo by Zak Radick.

    Kicking off the second set with the opening track of 2015’s Jekyll + Hyde, the pop energy of “Beautiful Drug” instantly got the crowd moving again, before Southern blues guitarist and all-around ‘goodfella’ Marcus King would join in on the party by lending his incredible talents to a cover of Derek and the Dominos’ classic anthem “Layla.” The sweet sounds of “Sweet Annie,” was next, followed by “Whiskey’s Gone,” and “As She’s Walking Away,” before another standout of the night came in a version of “Colder Weather” that dipped its toes into Pink Floyd’s “Wish You Were Here” territory before going into the popular ZBB original tune “Toes.”

    Keeping the “cover-heavy” theme of the night going strong, I don’t think anyone expected the pair of selections that came next. First reassuring anyone who might be experiencing their first Zac Brown Band show that they do, in fact, belong there was “Creep” from Radiohead’s legendary debut album Pablo Honey, which is celebrating its 30th anniversary this year. The next surprise was that of U2’s stadium-sized sing-along “With Or Without You” that saw the whole crowd doing their best Bono impressions. Following it up with a smash hit sing-along of their own, the Zac Brown Band original song “Homegrown” all but brought the packed SPAC house down, leaving fans hollering for more as the second set came to a close.

    The Zac Brown Band performing at SPAC on 8/13/2023. Photo by Zak Radick.

    Returning to the Broadview Stage with big smiles and time for a few more, Zac Brown Band went ‘around the horn’ so to speak, playing an impressive country-styled mashup of songs that gave each member of the band ample time to bask in the spotlight. Weaving in and out of songs like a well-oiled machine, the medley alligatored together through “Mountain Music”>”Chattahoochee”>”All My Ex’s Live In Texas”>”Fishing In The Dark”>”Callin’ Baton Rouge”>”Family Tradition”>”Boot Scootin’ Boogie”>”I Will Always Love You”>”Here’s a Quarter” and finally concluded with the crowd pleasing “Friends In Low Places.” Met with an absolutely rousing ovation, it was clear that fans not only wanted one more song from ZBB, they needed it. Happy to oblige and send everyone home happy, Zac Brown Band would conclude another year’s stop in Saratoga Springs with the song that started it all for them, “Chicken Fried.”

    The Zac Brown Band performing at SPAC on 8/13/2023. Photo by Zak Radick.

    After a few days of rest, the “From the Fire” tour picks back up on Aug. 19 with a highly anticipated performance at Boston’s Fenway Park, followed by a pair of already sold out shows in Gilford, NH. Fans in the New York/New Jersey area won’t need to wait long to get their next fix of ZBB though. They will play in Atlantic City on Sept. 1, followed by a pair of dates at the Jones Beach Theater in Wantagh.

    Zac Brown Band

    Set 1: Make This Day, Knee Deep, Keep Me In Mind, Where the Boat Leaves From, When I Get Home [1], The Devil Went Down to Georgia [2], Free > Into the Mystic [3], Tomorrow Never Comes, Same Boat, The Weight [4], Drums, Jump Right In.

    Set 2: Beautiful Drug, Layla [5], Sweet Annie, Whiskey’s Gone, As She’s Walking Away, Colder Weather>Wish You Were Here [6], Toes, Creep [7], With Or Without You [8], Homegrown.

    Encore: Mountain Music>Chattahoochee>All My Ex’s Live In Texas>Fishing In The Dark>Callin’ Baton Rouge>Family Tradition>Boot Scootin’ Boogie>I Will Always Love You>Here’s a Quarter>Friends In Low Places [9], Chicken Fried.

    [1] King Calaway cover.

    [2] The Charlie Daniels Band cover.

    [3] Van Morrison cover.

    [4] The Band cover.

    [5] Derek and the Dominos cover ft Marcus King.

    [6] Pink Floyd tease.

    [7] Radiohead cover.

    [8] U2 cover.

    [9] Mashup Medley.

  • A Night of Sonic Titans: Gojira and Mastodon Co-Headlining Tour Enraptures Syracuse 

    In a blazing crescendo of metal mastery, the Oncenter War Memorial in Syracuse bore witness to a seismic collision of sonic forces as Gojira and Mastodon united in a co-headlining tour that left the audience spellbound. The evening was an electrifying journey that began with the intense ferocity of Lorna Shore, setting the stage for an unforgettable night of melodic chaos and unbridled energy. 

    Lorna Shore ignited the atmosphere with an unrelenting onslaught of blistering tracks. The crowd was propelled into a maelstrom of sound as they unleashed the primal fury of “Sun//Eater” and the guttural intensity of “Cursed to Die.” The unapologetically heavy “Into The Earth” sent shockwaves through the venue, reverberating through the bones of every attendee. 

    However, it was the mesmerizing three-part opus of “Pain Remains” that truly captivated the audience, guiding them through an emotional odyssey that resonated deeply. The performance was more than just music; it was a cathartic release that manifested in fervent mosh pits, a swirling sea of bodies in harmonious chaos. Lorna Shore’s unyielding presence and raw energy served as an incendiary introduction that ignited the night’s fiery proceedings.

    Gojira, the heralds of progressive metal, took the stage with an aura of enigmatic reverence. As the first notes of “Born for One Thing” reverberated, the crowd was transported into a sonic realm where the dichotomy of heaviness and melody coalesced seamlessly. “Backbone” and “Stranded” demonstrated the band’s masterful command of dynamics, alternating between thunderous riffs and ethereal passages that seemed to hang in the air like a delicate mist. The audience’s anticipation reached a fever pitch as the familiar opening of “Flying Whales” erupted, triggering a collective frenzy of headbanging and fist-pumping that reverberated throughout the venue. 

    Gojira’s performance was a showcase of musical finesse and emotional resonance. “The Cell” and “The Art of Dying” served as sonic tapestries, woven with intricate layers of sound that painted a vivid emotional landscape. A captivating drum solo added a mesmerizing dimension to the performance, capturing the audience’s attention in a hypnotic trance. But it was Gojira’s commitment to their eco-conscious message that truly set them apart. Tracks like “Amazonia” weren’t just songs but powerful rallying cries for environmental awareness, seamlessly merging artistry and activism on stage. As the night reached its zenith with the haunting strains of “The Gift of Guilt,” it was clear that Gojira had left an indelible mark not only on the audience’s ears, but also on their hearts and minds. 

    Mastodon, the titans of modern progressive metal, commanded the stage with a setlist that spanned their storied career. The opening salvo of “The Wolf Is Loose” and “Crystal Skull” unleashed a torrent of sonic energy that rippled through the crowd. The colossal force of “Megalodon” showcased Mastodon’s ability to craft massive, sludgy riffs that pummeled the audience like a sonic avalanche. The mesmerizing “Divinations” and the ethereal journey of “Andromeda” were a testament to the band’s genre-defying prowess, seamlessly blending elements of progressive, psychedelic, and classic metal into a cohesive sonic experience. 

    Tracks like “Sultan’s Curse” and “Fallen Torches” demonstrated the band’s dynamic range, effortlessly transitioning between intricate vocal harmonies and thunderous instrumental passages. A moment of introspection arrived with “Pushing The Tides,” a song that offered a glimpse into the emotional depth of Mastodon’s songwriting. The unrelenting assault of “Mother Puncher,” “Circle of Cysquatch,” and “Crusher Destroyer” created a maelstrom of mosh pits that bordered on ecstatic chaos, embodying the raw power that Mastodon’s music possesses. As the night reached its climactic conclusion with “Blood and Thunder,” a cathartic explosion of sound that left the crowd exhilarated and breathless, it was evident that Mastodon’s performance was a testament to their status as modern metal legends. 

    The co-headlining tour of Gojira and Mastodon, supported by the fierce energy of Lorna Shore, was a symphony of sonic majesty that transcended the boundaries of metal. Each band carved its own path through the night, weaving together a tapestry of emotion, intensity, and musical virtuosity that will resonate with fans for years to come. 

    Set Lists: 

    Lorna Shore: Sun//Eater, Cursed to Die, Into The Earth, Pain Remains I: Dancing Like Flames, Pain Remains II: After All I’ve Done, I’ll Disappear, Pain Remains III: In a Sea of Fire

    Gojira: Born for One Thing, Backbone, Stranded, Flying Whales, The Cell, The Art of Dying, Drum Solo, Grind, Another World, Silvera, Amazonia, The Chant, The Gift of Guilt

    Mastodon: The Wolf Is Loose, Crystal Skull, Megalodon, Divinations, Andromeda, Sultan’s Curse, Fallen Torches, Pushing The Tides, More than I Could Chew, Aqua Dementia, Steambreather, Iron Tusk, March of the Fire Ants, Mother Puncher, Circle of Cysquatch, Crusher Destroyer, Blood and Thunder

    Lorna Shore

    Gojira

    Mastodon

  • JPEGMAFIA and Danny Brown Play Terminal 5

    JPEGMAFIA and Danny Brown continued their “Scaring the Hoes Tour” with a stop at Terminal 5 in New York City on Friday, Aug. 11. They played several tracks off their newly released collaboration album, Scaring the Hoes, and took turns playing songs their own solo catalogs throughout the set. They brought Redveil onstage to play “Kingdom Hearts Key” from the album. DJ Dave opened up the show with her signature style of using code to create music.

    JPEGMAFIA and Danny Brown play Terminal 5, NYC. Photograph by David Reichmann (@davidpresspass)

    You can see our full gallery from the show below. Check out JPEGMAFIA and Danny Brown’s Music here. Their North American Tour continues, and you can view upcoming dates here.

    Redveil joins JPEGMAFIA and Danny Brown on stage at Terminal 5, NYC
    DJ Dave plays Terminal 5, NYC
    Photography by David Reichmann (@davidpresspass)

  • MY GOD! Tessa Violet at Irving Plaza

    Irving Plaza was set ablaze on Aug. 11 as the vibrant indie-pop sensation, Tessa Violet, took the stage, with the equally captivating Frances Forever opening the night. The air was charged with excitement as fans streamed into the venue, anticipating a musical experience that promised to be nothing short of unforgettable.

    With Tessa Violet’s reputation for infectious energy and Frances Forever’s rising popularity, the anticipation was palpable. As the lights dimmed and the first chords reverberated through the air, it was clear that this concert would be a convergence of artistic talent and a celebration of the profound connection between musicians and their devoted followers.

    Frances Forever (photograph by Chinaza Ajuonuma)

    Frances Forever, the burgeoning indie-pop sensation, is carving a unique path with their music that resonates deeply with audiences across the globe. Born from a rich tapestry of influences spanning from folk to lo-fi bedroom pop, Frances Forever delivers an unmistakable sound that stands out in today’s music landscape. With introspective lyrics and melodies that effortlessly navigate themes of love, identity, and the rollercoaster of emotions that come with growing up, Frances Forever has captured the hearts of listeners seeking authenticity and reliability.

    Their breakout hit “space girl” and the subsequent releases have showcased a rare combination of vulnerability and catchy hooks, solidifying their place as a rising star in the indie scene. With an ever-growing fan base and a distinctive musical style, Frances Forever is undoubtedly an artist to watch as they continue to craft music that leaves an indelible mark on listeners and charts a fresh course in the world of indie-pop.

    Frances Forever (photograph by Chinaza Ajuonuma)

    Frances Forever’s opening performance was an absolute whirlwind of emotions and musical prowess. Kicking off with a powerful mashup of “depression” and “cry inside my car,” they immediately set the tone for an intimate and emotionally charged set. The audience was captivated by the seamless transitions between songs and the raw authenticity that Frances Forever brought to the stage. Tracks like “Mr. Man” and “Frankenstein Wannabe” showcased their ability to blend introspective lyrics with energetic melodies, creating a dynamic and engaging atmosphere.

    The standout moment of the night was the live performance of “Monica Gives Me Lockjaw,” an unreleased gem that resonated deeply with the crowd. The unrestrained emotion and vulnerability in their delivery left an indelible mark, reaffirming their status as a rising indie sensation. The juxtaposition of heartfelt tracks like “my condolences to myself” with the infectious energy of “paranoia party” demonstrated Frances Forever’s versatility and the range of emotions they can evoke through their music.

    “Space Girl” served as a fitting conclusion to their set, leaving the audience with an anthemic chorus echoing in their minds. Frances Forever’s performance was a journey through introspection, heartache, and catharsis, all expertly woven into a mosaic of indie pop brilliance. Their ability to connect with the audience on such a personal level while delivering a polished and energetic performance is a testament to their burgeoning talent. As they left the stage, the crowd was left buzzing with excitement, fully immersed in the emotional rollercoaster that Frances Forever had taken them on.

    Frances Forever Setlist: depression / cry inside my car (Mashup), Mr. Man, fuck u, Frankenstein Wannabe, treehouse, Stuck, my condolences to myself, Monica Gives Me Lockjaw (Unreleased), paranoia party, space girl

    Tessa Violet (photograph by Chinaza Ajuonuma)

    Tessa Violet, an emerging luminary in the indie-pop realm, is captivating audiences with her distinctive blend of introspection, vulnerability, and clever lyricism. From an eclectic musical background that spans genres, Tessa Violet has cultivated a sound that effortlessly weaves together catchy melodies and deeply relatable narratives. Her breakout tracks, such as “Crush” and “Bad Ideas,” have resonated deeply with listeners for their unfiltered portrayal of emotions and self-discovery.

    With an innate ability to craft songs that explore the highs and lows of relationships and personal growth, Violet has firmly established herself as a rising star in the music scene. Beyond her music, her engaging presence and relatable charm have endeared her to fans around the world. As she continues to evolve as an artist and explore new musical territories, Tessa Violet’s journey promises to be a captivating one, leaving an indelible mark on the indie-pop landscape.

    Tessa Violet (photograph by Chinaza Ajuonuma)

    Tessa Violet’s electrifying performance was a showcase of her artistry, vulnerability, and boundless energy. The night held a series of delightful surprises, starting with Frances Forever joining Tessa on stage during “Play with Fire,” adding an extra layer of charm to an already captivating song. Violet’s interaction with the crowd brought a personal touch to the show, prompting them to share their gratitude, leading to a delightful chant about dopamine. As she ventured into deeper conversations, she hopped off the stage to engage with fans, leading to a heartfelt exchange of dreams and desires.

    A poignant moment followed as Tessa introduced “I Don’t Know Who I Am Without You,” drawing from personal loss and connecting with the audience through a powerful and heartfelt performance. Throughout the show, her dynamic outfit changes, from the golden goddess dress to the iconic pink armor, added to the visual spectacle of the night.

    Her connection with her band members was evident, particularly with her fiancé Dante Cimadamore on guitar and Mike McKerracher on drums, who joined her on stage for an intimate dance during “I Don’t Know Who I Am Without You.” The live rendition of “When the Curtain Falls” was introduced with Tessa’s characteristic witty banter, giving a glimpse into the theme of her introspective and multi-dimensional album MY GOD!

    The set design, featuring a painting depicting Violet’s different personas, was a visually striking representation of her evolving artistry. Her acoustic take on “Bad Ideas,” with the crowd enthusiastically contributing to the ad-libs, showcased her effortless ability to engage and uplift the audience. Her candid speech on confidence, positive affirmations, and self-love resonated deeply, and the collective affirmation exercise led seamlessly into her empowering anthem “Bad Bitch.”

    Tessa Violet (photograph by Chinaza Ajuonuma)

    The show’s high-energy climax during “Crush” saw her stepping off the stage, mingling with the crowd, and sharing the microphone, creating an unforgettable moment of connection. The evening wrapped up with an encore featuring Frances Forever and their band, dancing, celebrating, and line dancing along with her during a spirited rendition of “Born This Way.” Tessa Violet’s performance was more than just a concert; it was an immersive journey through her music, emotions, and empowering spirit, leaving the audience inspired and invigorated.

    Tessa Violet Setlist: YES MOM, Breakdown, Play With Fire, Again Again, Good Things Go Bad, Haze / Wishful Drinking (entitled on the setlist, Hazeful Drinking), I Like (the Idea of) You, I Don’t Know Who I Am Without You, When The Curtain Falls, song without a title, Games, Bad Ideas + Liability by Lorde (Mashup), Honest, BAD BITCH, Kitchen Song (voice memo), Kitchen Song, MY GOD!, You Are Not My Friend, Crush

    Encore: Born This Way (Lady Gaga Cover)

    Tessa Violet (photograph by Chinaza Ajuonuma)

    In terms of upcoming shows, “MY GOD! The Tour” will be wrapping up on Sept. 7 in San Diego. If you find yourself in the UK later in September, you can also catch Tessa at Bittersweet Daze!

    Updates for any future Tessa Violet shows can be found on socials, and her website. The same goes for  Frances Forever, and you can find their socials and website linked here.